Northern Soul Floor Fillers

Total Page：16

File Type：pdf, Size：1020Kb

Numero Group Various Artists: All Night Long: Northern Soul Floor Fillers Catalog Number: JD001 Artist: Various Artists Title: All Night Long: Northern Soul Floor Fillers Release Date: 10/14/2016 UPC: 2xLP 825764001014 CD 825764001021 Available format: 2xLP, CD Genre: Soul Box Lot: 2xLP: 20, CD: 30 Territory Restrictions: U.K. only Vinyl is not returnable Track Listing Same track order on both formats with LP side splits noted: A Whilst not the first UK dance scene – the mods 1. THE SENSATIONS Demanding Man 2. JESSE FISHER You’re Not Loving A Beginner had that covered – northern soul is the longest 3. EARNEST MOSLEY Stubborn Heart running. Those northern clubbers who eschewed 4. SYL JOHNSON Do You Know What Love Is late 60s psychedelic fripperies for obscure old 5. THE NOTATIONS Trying My Best To Find Her B soul records with the requisite beat, couldn’t have 6. ROYAL ESQUIRES Aint Gonna Run known what they started. After using up all the UK 7. EULA COOPER Let Our Love Grow Higher released sides they began digging in the United 8. EDDIE RAY Wait A Minute 9. JERRY TOWNES You Are My Sunshine States and after nearly 50 years the northern soul 10. RICHARD COOK Somebody Got’A Help Me scene has probably unearthed more great music than C any other. All Night Long is our tribute to those 11. THE CHANDLERS Your Love Makes Me Lonely pioneers and includes current in-demanders such 12. OTIS BROWN I’m Ready For Love 13. TWO PLUS TWO Look Around as The Sensations ‘Demanding Man’, classics by The 14. BROWN BOMBERS & SOUL PARTNERS Just Fun Chandlers and Ernest Mosley and a host of other 15. MATTA BABY Do The Pearl, Girl (Part 2) dancefloor friendly masterpieces. D 16. THE MYSTIQUES Put Out The Fire 17. VONDORS Look In The Mirror On the 14th October 2016 J&D Records release 18. TONETTES I Gotta Know three exceptional compilations that look at vintage 19. CHAPELLS Help Me Somebody African-American music through the prism of UK 20. THE WEBS Little Girl Blue club culture. All Night Long, Can You Feel That CD 2xLP Beat and Extra Added Soul will be available on CD & double vinyl and are compiled by DJ and award winning compiler Dean Rudland, with stunning artwork from his long-time collaborators The Unknown. Across the three volumes there are 60 tracks of soul, funk and boogie..

Copy Link

Recommended publications

BTN6916 LMW NORTHERN SOUL ENTS GUIDE SK.Indd
22-25 SEPT 2017 20-23 SEPT 2019 SKEGNESS RESORT GLORIACELEBRATING 60 YEARS JONES OF MOTOWN BOBBY BROOKS WILSON BRENDA HOLLOWAY EDDIE HOLMAN CHRIS CLARK THE FLIRTATIONS TOMMY HUNT THE SIGNATURES FT. STEFAN TAYLOR PAUL STUART DAVIES•JOHNNY BOY PLUS MANY MORE WELCOME TO THE HIGHLIGHTS As well as incredible headliners and legendary DJs, there are loads WORLD’S BIGGEST AND more soulful events to get involved in: BEST NORTHERN SOUL ★ Dance competition with Russ Winstanley and Sharon Sullivan ★ Artist meet and greets SURVIVORS WEEKENDER ★ Shhhh... Battle of the DJs Silent Disco ★ Tune in to Northern Soul BBC – Butlin’s Broadcasting Company Original Wigan Casino jock and founder of the Soul Survivors Weekender, with Russ! Russ Winstanley, has curated another jam-packed few days for you. It’s an ★ incredible line-up with soul legends ﬂ own in from around the world plus a Northern Soul Awards and Dance Competition host of your favourite soul spinners. We’re celebrating Motown Records 60th Anniversary in 2019. To mark this special occasion we have some of the original Motown ladies gracing the stage to celebrate this milestone birthday. SATURDAY 14.00 REDS Meet and Greet with Eddie Holman, Bobby Brooks Wilson, Tommy Hunt Brenda Holloway, Chris Clark and Gloria Jones will also be joining us for a Q&A session, together with Motown aﬁ cionado, Sharon Davies, on Sunday afternoon in Reds. Not to be missed!! SUNDAY 14.00 REDS Don’t miss the Northern Soul dance classes, DJ Battles, Northern Soul Q&A with Brenda Holloway, Chris Clark, Gloria Jones and Sharon Davis awards and dance competitions across the weekend and be sure to look Hosted by Russ Winstanley and Ian Levine, followed by a meet and greet out for limited edition, souvenir vinyl and merch in the Skyline record stall.
[Show full text]
Clarky List 50 31/07/2012 13:06 Page 1
Clarky List 51_Clarky List 50 31/07/2012 13:06 Page 1 JULY 2012 PHONE RESERVATIONS ESSENTIAL : 8am – 9pm OVERSEAS ORDERS PLEASE WRITE FIRST. Postage & Packing Rates (all recorded delivery): LP’s/12"s: £6.00 for the first, £1.00 each thereafter 45’s: £2.50 for the first, 50p each thereafter Special Delivery on 45s – £7.50 to be paid on all orders over £30 ALL BIDS MUST BE IN WRITING All Mint/VG+ unless indicated otherwise. Discs held for 7 days. Any returns within 7 days. No responsibility for Post Office mis han dling The Coach House, Cromer Road, North Walsham, Norfolk, NR28 0HA, England Tel: 01692 403158 / ianclarkmusic.com 24 HOUR AUTO FAX! Fax in your requests - just let the phone ring! (same number as above) NORTHERN SOUL US ORIGINALS 1) Jackie Ross I Got the Skill Chess £8 2) Jackie Wilson Sweetest Feeling/Nothing But Heartaches Brunswick (DJ) £30 3) Jackie Wilson I Don’t Want to Lose/Just Be Sincere Brunswick (DJ £35 4) Jackie Wilson Who Who Song Brunswick (DJ) £30 Three rare promos of these soul classics 5) Young Holt Unlimited California Montage Brunswick (DJ) £25 6) Linda Lloyd Breakaway (swol) Columbia (WDJ) £175 7) James Carr A Losing Game Goldwax £25 8) Icemen How Can I Get Over? (brilliant) ABC £40 9) Volumes You Got it Baby/A Way to Love Inferno (WDJ) £40 10) Chessmen Why Can’t I Be Your Man? Chess (WDJ) £50 11) Jimmy Norman Love Sick Raystar £20 12) Nancy Wilcox Coming On Strong RCA (WDJ) (SWOL) £70 13) Herb Ward Honest to Goodness RCA (DJ) £200 14) Johnny Bartel If This Isn’t Love (WDJ) Solid State VG++ £100 15) Twilights
[Show full text]
Did Wigan Have a Northern Soul?
Did Wigan have a Northern Soul? Introduction The town of Wigan in Lancashire, England, will forever be associated with the Northern Soul scene because of the existence of the Casino Club, which operated in the town between 1973 and 1981. By contrast, Liverpool just 22 miles west, with the ‘the most intensely aware soul music Black Community in the country’, (Cohen, 2007, p.31 quoting from Melody Maker, 24 July 1976) remained immune to the attractions of Northern Soul and its associated scene, music, subculture and mythology. Similarly, the city of Manchester has been more broadly associated with punk and post-punk. Wigan was and remains indelibly connected to the Northern Soul scene with the Casino representing a symbolic location for reading the geographical, class and occupational basis of the scene’s practitioners. The club is etched into the history, iconography, and mythology of Northern Soul appearing in the academic and more general literature, television documentaries, memoirs, autobiographies and feature films. This chapter seeks to explore the relationship between history, place, class, industrialisation, mythology and nostalgia in terms of Wigan, the Casino Club and the Northern Soul scene. It asks the question: did Wigan have a northern soul? This is explored through the industrial and working-class history of the town and the place of soul music in its post-war popular culture. More broadly, it complements the historical literature on regional identity identifying how Northern Soul both complemented and challenged orthodox readings of Wigan as a town built on coal and cotton that by the 1970s was entering a process of deindustrialisation.
[Show full text]
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
[Show full text]
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
[Show full text]
Northern Soul Also by Ron Silliman
Northern Soul Also by Ron Silliman Poetry Revelator (being degree 1 of Universe) The Alphabet The Age of Huts (compleat) Tjanting Memoirs & Collaborations The Grand Piano Under Albany Leningrad Criticism The New Sentence (editor) In the American Tree Ron Silliman Northern Soul being degree 10 of Universe Shearsman Books First published in the United Kingdom in 2014 by Shearsman Books 50 Westons Hill Drive Emersons Green BRISTOL BS16 7DF Shearsman Books Ltd Registered Office 30–31 St. James Place, Mangotsfield, Bristol BS16 9JB (this address not for correspondence) www.shearsman.com ISBN 978-1-84861-319-5 Copyright © Ron Silliman, 2014. The right of Ron Silliman to be identified as the author of this work has been asserted by him in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. Northern Soul For Barney Up Quay St to Deansgate then over to Victoria Station, Northern Rail West to Liverpool grey clouds pillowing the sky No height in these fields yet whatever they’re growing Hedge row as fencing An older station at Newton-le-Willows brick office padlocked but the chairs on the platform bright yellow vinyl then the backsides of row housing with thin slivers of yards School fields without baseball diamonds Magpies mistaken for mockingbirds Blood pudding salad full of rocket planespotter in an antiaircraft 9 unit, learning first to drive a tank over the Egyptian desert then determining never to leave England again Sharp shadow over the page writing into the dark Notice is hereby given that it is proposed
[Show full text]
LIST #801 MONDAY 16Th AUGUST 2021
ANGLO AMERICAN TEL: 01706 818604 PO BOX 4 , TODMORDEN Email : [email protected] LANCS, OL14 6DA. PayPal: [email protected] UNITED KINGDOM Website:www.raresoulvinyl.co.uk SALES LIST #801 MONDAY 16th AUGUST 2021 NEW FORTNIGHTLY RARE SOUL AUCTION ! Auction ends THURSDAY 26th AUGUST at 6.00pm (18.00) Welcome to our new situation which offers two auctions per month (of which this is the 2nd). Usual circumstances apply – no extensions, no drop-downs. Offered price at the finishing time is the price payable. Hope that is clear. Some interesting items as usual, and many thanks for your attention. MIN. BID AUGUST RARE SOUL AUCTION #2 A DOTY ROY YOU GOT MY BOY PIC 1 124 D VG++ 400 One of many Huey Meaux labels (Jetstream, Tribe, Crazy Cajun, etc.), not too much black music on this one but the few releases of that genre seem to be scarce – as is the case with this 1966 female mover from a singer who only recorded one other time as far as we can tell. B THE EBONY’S I CAN’T HELP BUT LOVE YOU AVIS 1001 VG++ 300 It is difficult not to believe that this is not the group that had tremendous seventies releases on Philadelphia International but various sources do not recognise this as the group’s first effort in 1966. We absolutely believe it to be them. Two great sides are produced by Ray Sharp and Roland Chambers whatever the group’s identity. The storming ‘I Can’t Help’ is backed by a very neat midtempo item which points heavily towards their future sound.
[Show full text]
NEW YORK NIGHT TRAIN's SOUL CLAP and DANCE-OFF
NEW YORK NIGHT TRAIN’S SOUL CLAP and DANCE-OFF WHAT IS IT? For two straight years New York Night Train's Soul Clap and Dance-Off has reigned as North America’s most popular soul party – by far playing to more people in more places and generating more capital than any of its contemporaries. The concept is simple - all night dancing to wild 45s of subterranean maximum rock and soul DJ Mr. Jonathan Toubin and, in the middle, a $100 dance contest judged by a panel of local celebrities. Recession-friendly mass entertainment with a $5 door price, the dance party/spectacle not only sells beyond capacity at home, but has brought its excitement to domestic markets all the way from Portland, Oregon to Portland, Maine and internationally from Tel Aviv to Mexico City - including monthly residencies in New York, Chicago, LA, San Francisco, Oakland, and PDX. Also the Dance-Off portion features judges from every edge of music and culture from classic subcultural icons like Mike Watt and Jello Biafra, to rock stars Andrew Van Wyngarden (MGMT) and Nick Zinner (Yeah Yeah Yeahs), to interesting cultural figures like Karla LaVey (Satanic Priestess) and Candidate Matt Gonzalez (Green Party Vice Presidential) to your favorite neighborhood heroes. Catch The Soul Clap! WHY IS TONIGHT DIFFERENT THAN ALL OTHERS? Because New York Night Train, Mr. Jonathan Toubin, and the Soul Clap emerged not from the mod or soul scene but the punk, post-punk, and general independent rock'n'roll underground, Soul Clap grew as a uniting force for various subcultural groups.
[Show full text]
And Teresa Swanborough (TS) Interviewed by Kate Hall (KH) and Nick Wood (NW) Date
Northern Soul Scene Project Colin Swanborough (CS) and Teresa Swanborough (TS) interviewed by Kate Hall (KH) and Nick Wood (NW) Date: CS: A genre of music that more than any other promotes two things. It promotes the need to dance and it promotes the … the need to be part of a group. Now, the reason I say that is, if you don't mind, I'll go to you, because I did, I've got a problem. If you go to a northern soul, you will not ever be anything else except another member of the same family. So you could go over there and you would just enter into this relationship with people you’ve never spoken to before. If I go to, God forbid, [ ] everybody is just an individual, the same. So once you get this northern soul bug if you like, it's something that just never, ever goes. KH: Like being Catholic. CS: Yeah, but with a deeper faith. So I first got involved in northern soul most probably about ‘69 so I was about 11 and there was a place in Stanground called the Stanground Soul Hole and it was an underground cellar inside of Stanground [ ]. KH: Okay. CS: And the big children used to go down there, you could hear the music from outside and of course in I went and never came back since really. And the soul movement has sort of contained the most of the same people ever since, you do get newcomers, youngsters coming nowadays, but they tend to be the children of the mothers and fathers.
[Show full text]
The Jazz Dance Scene
The Jazz Dance Scene An innovative and creative movement or plagiarism disguised? Andrew Penny: 97D678 Dissertation MU326 PMS 3 1 TABLE OF CONTENTS INTRODUCTION 3 CHAPTER 1 : TALKIN LOUD AND SAYIN SOMETHING 5 Club culture and jazz funk history CHAPTER 2 : DIGGIN DEEPER 11 The power of the bootleg and the re-issue CHAPTER 3 : THE POWER AND THE GLORY 17 The labels and the bands CONCLUSION 23 BIBLIOGRAPHY 25 Andrew Penny: 97D678 Dissertation MU326 PMS 3 2 INTRODUCTION Future Jazz [Stearn] is an apt way to describe the extension of 50’s and 60’s jazz to include Acid Jazz, where the difficulty of categorising this new style highlights the fact that it is really a continued genre. (Stewart 1995, p4) Although “future Jazz” may appear pretentious especially as labelling any art form can be counter productive, the general direction of this introductory quote does have substance. These music forms have under gone huge change due to unforeseen influences from DJ’s, musicians and producers together with it’s enormous effect on dance and the club scene. During the 60’s and 70’s major investment was injected into producing original material. Just as the 1000’s of films made in the 40’s and 50’s did not receive wide exposure, becoming cult material of today. Now in the age of sampling and technology this has in effect created a massive back catalogue. I intend to examine the process that took place from original production to re-issuing in the 80’s and contemporary musician’s, DJ’s and labels exploitation of these past materials, through to their effect on today’s ‘nu-jazz’ music.
[Show full text]
14 Hardbackcovers.Pdf
Crica 1.700 pages of R&B Nostalgia! 17 volumes © 2019-2021 The Great R&B Files – The R&B Pioneers Series In "Rock and Roll: An Unruly History", 1995, Robert Palmer defines "Rhythm & Blues" as a catchall rubric used to refer to any music that was made by and for black Americans. In "Blue Rhythms: Six Lives in Rhythm and Blues", 1996, Chip Deffaa notes it as popular music that arose in black communities after the swing era and before the arrival of the Beatles, roughly between 1945 and 1960. Arnold Shaw (“Honkers and Shouters”, 1978) renders Pvt. Cecil Gant’s ballad “I Wonder” as the start of Rhythm & Blues, originally recorded in 1944 – it hit the “The Harlem Hit Parade” charts that year and topped at #2 for two weeks on the new “Most Played Juke Box Race Records” chart introduced in February, 1945 (although Roosevelt Sykes stayed at #1 for a whole seven weeks with his cover). Gant’s hit version was issued on the tiny label GiltEdge (he had already recorded it for another odd label – Bronze). The GiltEdge version spent a total of 28 weeks on the “black” charts. Shaw’s choice had a strong connection to the fact it was recorded for an “independent” label. This was the “rule” for most of the great R&B records that hit the new market during the late 1940s and long into the 1950s. The major labels “stuck” to their established artists (Decca tried with Gant in the early ‘50s without success, and other majors tried the same formula if a newcomer became established).
[Show full text]
Young Soul Rebels? Soul Scenes in Seventies Britain
Young soul rebels? Soul scenes in seventies Britain David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. One of my earliest and most formative musical experiences took place at the age of eight or nine. It must have been in 1963 that I happened to watch James Brown playing live on the commercial TV show Ready Steady Go! It wasn’t just his rasping and pleading vocals that I found so compelling, or his astonishing dancing. I can still recall the moment where Brown seemed to break down in an apparent excess of soulful emotion, or perhaps physical exhaustion. He dropped to his knees, sweating profusely, as an assistant wrapped a cloak around him and ushered him off stage. Brown proceeded to throw off the cloak, grabbed the mic and returned to performing. Little did I know that this routine was a regular feature of Brown’s act. For a lower-middle-class white boy in suburban Britain, it was a kind of revelation: it suggested that music could be something other than the bland, white mainstream pop that my parents seemed to like. Soul music has stayed with me. While I grew up with Tamla-Motown, I was obviously much too young to be a mod; although by the time I arrived at my hippy teenage- hood, I was still listening to Stevie Wonder and Marvin Gaye.
[Show full text]